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“My name is Justin Breame, a 31-year-old composer and teacher from Norfolk, England. Largely self-taught, my concert works range from solo Guitar to choral and orchestral. I have also scored five short films that have been screened at festivals worldwide. I realized I wanted to compose when I found that I was writing music more than I was playing. At the same time I was introduced to the music of Vaughan Williams, whose folk-song influence struck a chord with me as this is what I grew up with, listening to my father, a folk musician, playing on his guitar.

"Counting Time" is a crossover piece for me. My film work has made me conversant with electronic/computer technology but I hadn’t mixed this with my more formal composition. The idea is simple; take the number of seconds in a minute, combine with the chance element of 59 friends/pupils choosing three random numbers between 1 and 59 and record them on low-tech equipment. All the recorded voices are present, but I used the more popular numbers as accents; others were fed through filters to create texture. It felt right to incorporate foreign numbers and the Ukelele was a fun addition!” - Justin Breame

I've been composing computer music for about eight years. Most of the output during this time can be categorized as down-tempo/experimental/melodic electronic music. Instrumental Hip Hop has been a major influence on my music as well. I’m currently working on my thesis at the University of Limerick in Ireland. Upon completion of my thesis, I will be awarded an MA in Music Technology. I have done several sound design pieces for art installations. I am part of a live electronic music group who has played with Keith Rowe, Denis McNulty and Paul Vogel, and various music/multimedia festivals.

Back down. Wet feet. Squinting eyes. Blue Bottom Bridge.

David Handford produces various forms of leftfield music as dj Methodist and Ministry of Defiance on his label Post Office Records, as well as film and performance soundtracks under his own name.

“Brief Electrical Encounters” has received BBC Radio 1 and Radio 3 airplay, as well as in Europe, Australia and Americas. Ministry of Defiance’s album, Chapel Couture was released to critical acclaim in October 2003 and toured with film in 2004/05 and at Netmage ’06, International Festival of Art, Music and Media, Bologna, Italy. A recent dj Methodist cover of Joy Division’s Digital, received Steve Lamacq, Huw stephens and Rob Da Bank, Radio 1 support, as well as other international and underground airplay. The new dj Methodist album Seven Nights is out in Winter 2007, preceded by a series of singles.

'Simon Gross leads a mysterious life and rarely knows what surprises will be around the corner. If he falls over he will get up, dust himself off and carry on. He plays in a group called Noiseclub that improvise their electro-acoustic soundscapes in usual and unusual places.

Switchbass is a solo piece composed using an abandoned Commodore 64 Kawasaki synthesiser, then time compressed to fit the slot, and jiggled about with some PC electronic plug-ins. A combination of the old and the new.'

Robin Fencott works with audible materials. He first experienced musical composition using a computer, and since then his primary channel for artistic expression has been through software. Alongside working towards a BA in Sonic Arts at Middlesex University, Robin's personal work encompasses sonic composition, real-time performance and interactive software environments.

“1510Study” is based upon shifts and jumps between differing sonic regions, favoring juxtaposition over superimposition. The limited time frame provides the minimum of space for these sonic regions to exist, so immediate cuts and fades are employed to create transitions, as opposed to slow progressions. Through using a range of sonic regions, each of different pitch, speed and mood, a sense of depth is implied, as each region becomes a window, momentarily revealing larger sonic bodies that exist beyond the scope of the composition.

Fergal Dowling holds an M.Litt. (Composition, 2002) from Trinity College, Dublin, and recently completed a Ph.D. (Composition, 2006) at York University. His catalogue of work includes pieces for orchestral, choir, music for video and rock band, and often employ real-time interaction and multi-channel sound spatialisation. His compositions have been performed and broadcast throughout Europe and America. In 2002 he was awarded the Elizabeth Maconchy Composition Fellowship. He is a member of Association of Irish Composers, the Sonic Arts Network and the ICMA, and is represented by the CMC, Dublin. Since 2004 he has been a director of EAR Ensemble.

In '58 Seconds of Pulses for Two Loudspeakers' the surface texture exhibits rhythmic noise bursts which reveal an underlying contrapuntal structure on three rhythmic/spatial levels. I have used samples of fast flowing water as the source noise-like wavetables which form the individual pulses. The piece should be replayed on two loudspeakers only, and should on no account ever be reproduced in mono. The loudspeakers may be positioned in a variety of arrangements: in the normal stereo pair, as two separated speakers positioned on a stage, or at the extreme sides of the audience, or to the rear of the audience.

UK based sound artist, Angie Atmadjaja has been deeply involved in theatre related works such as dance collaborations with Melanie Clarke, Akram Khan, Henrietta Hale/Rachel Lopez de la Nieta/Ben Ash (Dog Kennel Hill Project) and Commerce (GER). Under Tony Myatt’s supervision, she is currently pursuing her PhD at University of York, researching on lowercase sounds and concentrating on sound art installations. Her voice borders on the delicate and minimal gestures.

“Timed Memory” is based on Friedman’s models of time memory and unfolds gestures of the nature of memory within 5 models (W. J. Friedman, 1990, About Time: Inventing the Fourth Dimension). “Timed Memory” is a set of 5 minimal phrases, each a minute long. They are to be heard through a pair of headphones or between two opposing loudspeakers facing the listener, either sequentially or discretely. Each phrase is treated like a Haiku where clarity and richness within minimal use of material is its sole intension. They are all then framed within 2 clicks that sits at 0” and 1”.

Jethro Bagust is currently at York University studying for a Masters in Music Technology by Research, in Digital Composition. He has performed at various Digital Arts festivals around the UK including, SightSonic (York) and Lovebytes (Sheffield), and has released electronica on the award winning label, Machine Records (Wales). Tracks can also be found on the Dubious Audio record label, setup with cofounder Rowan Porteous (Superimpozer).

For more than 30 years the Shortwave radio spectrum has been used by the worlds intelligence agencies to transmit secret messages. These messages are transmitted by hundreds of “Numbers Stations”. "Twisted Numbers" is based on material collated for The Conet Project, on Irdial-Discs.

Manuella Blackburn was born in London in 1984 and is now living in South Manchester. She is currently a MusM student at the University of Manchester studying electroacoustic music composition under David Berezan’s supervision and intends to further her studies with a PhD commencing in September 2006. Recent performances of her work include a live laptop improvisation Re-Wind in collaboration with Steven Boland at the Green Room, Manchester and a premier of Causal Impacts in the Sonic Skylines festival, May 2006. Also, her work was recently selected as a finalist in the 2006 Bourges International Electroacoustic Music and Sonic Art Competition.

“Causal impacts” was composed around the notion of causality. Source materials, indistinguishably derived from electric guitar sounds, are presented in brief phrases displaying leading trajectories and impact-like terminations.

Paul Dibley is a Senior Lecturer in Music and Director of the Electroacoustic Studios at Oxford Brookes University, UK. Paul gained a distinction in his MA in Digital Music Technology from Keele University in 1996 (studying with Professor Rajmil Fischman and Professor Mike Vaughan) and in 2003 he completed a PhD in composition with Professor Jonty Harrison at the University of Birmingham, UK. His work has been performed in Europe, the Far East, Australia, Canada and the USA.

"Ein kleiner Klang" is a very simple minute's worth of sonic play, using just the archetypal sound of New Zealand pottery. Taken from the opening of Jonty Harrison's Klang, this short study allowed me to produce an etude using a metallic, bell-like sound. Only time stretching, equalization, reversing and layering of different pitches were used in this etude.

Born in Turkey at 1981, Burcin Elmas plays the alto saxophone as her main instrument. During her study at University of Virginia for BA in Music and Economics, she developed and interest in composing computer music. She recently completed her MA in Music Technology at University of York.

A single short recording is manipulated various ways, has been constructed into a composition starting with a pulse building up to a rhythmic composition. The pulse is a sign of a surprise coming towards the middle of the piece to create excitement as it happens in real-life after stressful times.

Howard Hughes, The Associates, Peter Murphy and others, years ago. Now at www.anemonehoneymoon.com

Inspired by Don Siegel’s 1974 movie “Charley Varrick”, this piece is based on the opening robbery sequence: the getaway car purring quietly outside the bank, the suspicious patrolman’s enquiry, then the shooting, the car chase and Charley’s escape with gang member Harmon and his mortally wounded getaway-driver-wife, Nadine. A Dickensian Parallel as well: Charley’s small time bank job nets the better part of a million dollars form a Mob drop box and, like Pip in Great Expectations, his inheritance derived form a convicts exertions, Charley will be a rich man if he can just disconnect his fortune form its criminal past. I’ve reflected this in the meal: a very Victorian combination of fried egg on a pork chop.

Katarzyna Glowicka's artistic output embraces musical mediums of all types collaborating with stage directors, choreographers, visual artists, musicians and conductors on original works for opera, dance and symphonic orchestra distinguishable by her force of expression and color. Katarzyna’s works have been premiered by renowned international ensembles and soloists and she is a recipient of several awards. In 2006 she has been shorlisted by SPNM. Her strong belief in the new computer mediums have taken her to Northern Ireland where she currently conducting a research on compositional systems at the Sonic Arts Research Centre.

'Pink candy' is a part of a music track that was originally composed in 2001 for 'Yo' Children Opera in Utrecht. It was a short operatic piece entitled 'Pink candy's alter ego'. In this part, soprano appears solo. She looks like a pink candy (wearing cute, pink outfit with a lot of ribbons and sashes, full make up). She sings like an angel with a lot of devotion and passion. But there is something disturbing, something behind her presence. There is another voice sounding as if from a far distance, dark and low (Pink candy’s alter ego - alto).

Born in Vienna in 1930, I came to England as a refugee in 1938. I first became a physicist, but then studied composition with Matyas Seiber. I was Director of Music of Morley College in London, then Senior Lecturer in Academic Studies at the Royal Northern College of Music, Manchester, and conducted (including much contemporary music), played flute and wrote many articles for various journals as well as composing.

I recently found myself with some dramatically contrasted ideas for a string quartet. But they refused to develop: I could not get past the opening. ‘60 x 60’ felt like a liberation: a granting of permission to let them stand on their own. They all grow out of the same note. The first explodes suddenly. The second, cool and withdrawn (the original harmonics have become woodwind sounds), all bleak fourths and fifths, grows into a violin and ’cello duet, then into a variant of the first. The last is an expressionless duet for violin and viola that ends abruptly.

Currently studying composition at the Royal Welsh College of Music and Drama, Ed is involved in a full range of styles and genres. Recent projects include Dark-room Shavings, a colourful, short work for orchestra as well as upbeat tracks for the film Bay of Life (installed at Cardigan Bay Marine Wildlife Centre and distributed to schools across Wales) and In Viam Pacis, simple yet stylish winner of the 2005/6 Barry Choral Society competition. A collaboration with Irish Dance group The Orlaiths culminated in a performance to Ed’s track Minerals in July.

“Blue Thread” is a constituent element of a larger work, Blue String Pudding, in which it is developed fully in conjunction with other themes. The Blue Thread component, consisting of a rising group of four superimposed fifths oscillating over a constant piano ambiance, is developed as an isolated, solitary element in this piece. The resulting sonic atmosphere is one of graceful simplicity, generating connotations of primal harmony and building to a rich dissonance before evaporating away from the direction in which it began.

James McWilliam recently completed a Masters degree at Goldsmiths College in London where he studied composition with Roger Redgate. His first string quartet has been short listed by SPNM for their 2004-2007 artistic season. He has written for the concert hall, film and for theatre. McWilliam also works as an arranger in London; some recent credits include singles with Pavarotti, Jeff Beck and Simply Red “Downtown - Uptown is an English composer’s (somewhat ‘overly’ dramatic) musical interpretation of his first trip to New York. The sounds form Downtown - Uptown were all recorded on a Minidisc whilst walking through the streets of Manhattan in the Winter of 2003 and includes everything from the rain on the sidewalk to the horse in central park. I hope it conveys my feelings of excitement, tension, and bewilderment as I experience this city for the first time. The strings were recorded in Metropolis studios in London.” - James McWilliam

Media composer Alan J Moore, has been writing/teaching music for many years and now writes original music suitable for media applications. He is a music graduate (BA Hons), qualified music teacher and holds a diploma in media composition from the Film Music Institute of Los Angeles. He has also been a gigging keyboard player in several bands. Alan has written music for films, TV documentaries, websites and audio dramas.

"The Billiard Room" is derived from a longer piece called "Brodsworth" composed last year. Brodsworth is a stately home in Yorkshire (UK) owned by 'English Heritage' who made the bold, but highly successful decision, to conserve the interiors 'as found' rather than replacing or restoring them, recounting the tale of how a once opulent Victorian house grew comfortably old and inviting to all. The music reflects the lives of the inhabitants who have passed through the house.

I’m 26 years old, tall, of slim build with brown hair and I wear glasses (yes, this makes me vulnerable.) I started with a striking motto theme based around the pitches Bb and D and then I developed into a playful stretto of polytonal clusters, before briefly resolving on the dominant. WLTM female in twenties, tonal or bi, good looks, interested in drinking, scenario du monde, friendship and perhaps that elusive ‘something more’…

This is the recently discovered sole tape piece by Arnold Schoenberg, then working under the pseudonym of Ray Yogi St. Vinsk and cryptically dedicated to ‘all the sexy people out there: you know who you are…’ You quite like this font, don’t you? Here’s a good joke: later in life this compact disc went on to graduate with first class honors in a free upgrade from economy. Oh and this is definitely the best bit in the piece coming up right… here. Good wasn’t it? Double golden section. Hot damn he’s good. Thanks for reading to the piece.

Born in Sydney, Australia, in 1982, Styles has been an enthusiastic musician since the age of seven, and began focusing primarily on composition at the age of 18. He moved to the United Kingdom in 2001 to pursue a BMus (composition) degree at the Royal Academy of Music (graduating with honours in 2005), where his teachers included Christopher Brown and Simon Baibridge. He is now continuing his Postgraduate study with Detlev Müller-Siemens in Vienna and Prof. Wolfgang Rihm in Karlsruhe.

Cedric Peachey began composing in his teens and continued in such spare time as he could find during the many years when he worked in industry in the United Kingdom and in France. The first performances of his music began in 2002, since when he has had works performed at the 2003 Brighton Festival, by the Forum London Sinfonietta and the Southwark Consort of Winds. A string quartet and a piece for percussion ensemble were premiered in 2004 and 2005 at the annual All Ears Contemporary Music Festival in London.

“Binge” is hard-edged, pumped-up and driven, it uses synth sounds to suggest a fragment of classical rap

Ambrose Field, three-time Prix Ars Electronica award winner (honorary mentions, 1997,1998,2006) is a digital composer and performer working in the UK. His hard-hitting electronica album "storm!" on the Sargasso label SCD28054 has recently been released to critical acclaim. Field is currently performing with Northern Loop, and recording a new creative project.

This track was specifically designed for Rob Voisey's 60x60 project: it was a challenge to make a piece that could easily sit, and be edited right up against two unknown works, whilst being distinctive in it's own right. In the UK, our weather works in a similar way. You can almost feel the unpredictably damp, humid, and cold climate seeping its way out of this piece.

I am a composer, percussionist, bass player and conductor studying at Dovtington College of Arts. I am interested in a wide variety of music, both form my culture and others as well.

Dreamtime is an aboriginal concept, Digital is a Western concept. As a Western musician, I enjoy the studying of music form other cultures and explore ways to integrate what I learn into my music. This piece is created from two separately recorded and manipulated tracks; the traditional Aboriginal didjeridoos and the Western electronic Theremin. Both tracks have been digitally manipulated and put together right at the end of the compositional process.

James Wyness is a composer and sound artist living in Southern Scotland. His work is performed and presented in the UK, Europe and in North and South America.

“Facing Paint” is a sonic abstraction of a young child's experience of face painting.

Pat Hanchet graduated in Music at Durham University, taught in schools and colleges and now teaches privately. Compositions include Elegy for cello and piano (runner up - Norwich Arts Centre competition), Dark Fantasy for flexible choir and instruments (European competition winner), The Only Blonde in the World - flexible instrumentation (shortlisted for Liverpool Tate Gallery, workshopped at COMA Summer School and performed in London by the London Chamber Group), Songs of Ariel and Caliban for choir and strings (performed in Beccles), What's Out There? (played through ghettoblasters at Lunel Contemporary Music Festival) and publications for beginner string groups.

“Glass & Steel” Bowed and tapped wine glasses and palette knife.

Compositions performed or broadcast have included an opera with tape backing; several works for chamber choir; a string of alternative rock / dance / rap /hip-hop efforts under the pseudonym “Ux”, one of which found its way onto BBC Radio 3’s program “Mixing It”; three cantatas for primary school children; an electroacoustic dance film score and a variety of shorter pieces for piano. Having worked variously as a university music professor, postman, private teacher, rock keyboardist and solo singer / guitarist I am now 35, living in southern England and still doing some of the above.

“Kinesis” offers a sonic response to (rather than a representation of) aspects of mechanized motion, interaction, equilibrium and destabilization.

Born in 1977, Mark Henry has recently completed a PhD in Music Composition at the University of Bristol (UK). He has studied under Geoffrey Poole, Robert Saxton and Neal Farwell. His compositions interests range from acoustic to electroacoustic mediums and deal mainly with the crafting and sculpturing of sound. Current projects have included an interactive installation work and an electroacoustic piece for orchestra.

"Hacked Metal" is a play on its source sound. There are interjections of reality into the textural landscape. The opening expansive phrase becomes hacked by this punctuation until the final full stop brings the piece to a premature end. The original improvisations are also hacked and manipulated to create the final composition.

Tony Higgins is a 23 year old composer from Galway City, Ireland. He has just completed a Master's in Music Technology at the University of Limerick, for which he wrote "I'll be there in ten minutes", for drum kit and tape. He had his first concert performance this summer with the premiere of "The Notes of a Piano" at the Cortona Contemporary Music Festival. He has also performed around Ireland with his rock project, junior85. His influences include coincident lines in perspective and The Road Signs of Our Age.

“60x601” was written in the ProTools studio at the University of Limerick. It uses loops created with a Korg AX1500g and a Fender Strat.

Bernard Hughes is a composer based in London whose work ranges from music for children to pieces for professional ensembles including the BBC Singers.

“Full Fathom Five” is taken from incidental music to a 2002 production of The Tempest; it features the (digitally-enhanced) voice of Sarah Lambie.

Neil Kaczor (b.1967) studied composition at the Royal College of Music and electroacoustic music at the City University in London. During the '90's he co-founded The Offset, a performance art collective and played keyboards in Leigh Bowery’s art-rock band Minty. His works have featured in various festivals in the UK & Europe and he regularly writes music for film, theatre, & dance. Recent commissions include two pieces for the inaugural celebrations for the opening of the Centre for Contemporary Art in Glasgow and a sound installation for the Museum of Childhood in London.

“extract VII” is a gradually unfolding drone around the note E; a sustained texture on a single note and it's harmonic spectrum for string trio and electronics.

James Mooney a musician, composer, technologist & researcher - was born in Edinburgh, Scotland, in 1980. In 2000 he completed a Music degree at the University of Newcastle-upon-Tyne, England, followed by an M.Sc. in Music Technology at the University of York. He then began work towards a Ph.D. at the University of Sheffield whilst lecturing part-time at various institutions in the north and Midlands of England. His Ph.D. research - including co-development of the M2 Sound Diffusion System - was completed in 2005. He is now working full-time as Studio Manager for the University of Newcastle-upon-Tyne's newly established Culture Lab.

"Sueño" is a sixty-second acousmatic work composed specifically for the 60x60 project. The piece is derived from one audio recording: a telephone call approximately six minutes in duration. Fragments of the female voice have been transformed to generate the source material for this tightly structured work, which loosely traces the spectromorphological trajectory of the phone call itself. Sound material is mostly treated non-semantically: as such, the piece does not really aim to reflect the narrative content of the conversation. Sueño is the first in a series of short pieces that will ultimately constitute a larger work currently in progress.

Hywel Morgan is a Welsh composer of electro-acoustic and computer music, active in the Manchester/Leeds area. His early musical training was in the classical tradition on the trumpet and piano. He holds both a MusB and MusM in composition from the University of Manchester under the tutelage of Prof. John Casken and David Berezan, winning the Peter J. Leonard Prize for composition as an undergraduate. Morgan has also received private tuition with Prof. David Cope at the University of California, Santa Cruz in algorithmic music. When not involved in music he works for TV production as a darts spotter.

Ten-Pin Bowling is one of those games that takes a minute to learn and a lifetime to master. "7-10 Split" is a sound exploration of that minute.

Alastair Kilpatrick was formally trained in violin and piano before studying music-based computer programming with Dr. Michael Edwards at Edinburgh University. Previous works include 'dots', a graphical music creation environment; 'med_2', a live sample manipulation work; 'sperf' for pre-recorded samples and wireless gamepad, and 'II', for solo piano. Alastair is currently studying for a diploma in piano performance and undertaking research in composer and style identification through algorithmic and statistical analysis.

'Nd60' is a piece based on the chemical element Neodymium, chemical number 60. It is in 6 movements which, along with other elements of the piece, are proportioned on the electron shells of an atom of Neodymium (in proportions 2:8:18:22:8:2). The sounds used in 'Nd60' are taken from objects containing Neodymium; these include hard disk drives and microphones amongst others. Each movement contains impulses positioned according to the 11 factors of the number 60, stretched according to the length of the movement.

‘...an enlivening and inventive experimental composer’ Susan Matthews was born in England and became interested in music at a young age. She co-founded the independent magazine ‘A Winter In Maine’ while at school and went on to write programme notes for various events including concerts by Bournemouth Symphony Orchestra. Susan has composed music in a variety of styles for a number of years and has contributed to an array of multi-media events including most recently ‘Women In New Music Festival’, ‘2.09 Radio’ and ‘Re:Sound Exhibition’ She has released 3 CDs through her independent label Siren Wire Recordings.

“ONPS-4” forms part of an ongoing experiment using computer software to alter the duration of a piano note. For this piece I took a recording of a single piano note and slowed it considerably until it created the ‘thumping static’ effect heard at the beginning. I took a short sample of this which I then sped up many times, each time by equal degrees, until the resulting sound sample was too short to work with further. I then put the samples together in order from slowest to fastest to create the final piece. Composed, Performed, and Edited by Susan Matthews 2006

John was born in August 1960 in Bolton. He fell in love with music at a very early age; he remembers going to a fairground when he was 3 and being thrilled by the music blaring from the rides. John considers himself fortunate to be able to make a living out of his hobby – to spend his days practising his first love, music. He loves the variety of his work, and is constantly seeking to develop his talent in new directions and to take on new challenges.

This one of the first batch of songs written as i was separated from my wife.. it felt like i was in another country..

Liz Lane’s music has been played throughout the UK and abroad including the Royal Philharmonic Orchestra, BBC National Orchestra of Wales, London Bach Choir, Andrew Kennedy and the Carducci Quartet. Recent commissions have included: Why Cats Sit on Doorsteps in the Sun for wind dectet and piano, which received its US premiere in June 2006 and Words, Wide Night, a 40 minute song cycle for tenor voice, piano and string quartet, recorded and performed in 2006 and a further performance scheduled for April 2007. Liz is also currently studying for a PhD in Composition at Cardiff University with Anthony Powers.

“Variation No. 54” is inspired by the almost atonal row of eleven notes found at the beginning of the development section of the fourth movement of Mozart’s Symphony No. 40 – but rhythmic, jazz-inspired patterns and mixed combinations of tonal and dissonant pitches create a sound world far away from Mozart. A pizzicato cello obbligato is phased over a three bar timeframe and above this the flute, in synchronization with the clarinet, creates a quasi improvisatory pattern. Finally the missing G – making up the full twelve note row – can be heard for the first time by the flute towards the end.

Sarah (b.1982 in Dumfries, Galloway), won a Music Scholarship to Gordonstoun School in 1996. It was at the University of Sheffield with George Nicholson that she became increasingly interested in composition and has just completed her postgraduate studies at Trinity College of Music, London, where she was awarded a scholarship to study composition with Alwynne Pritchard and orchestration with Stephen Montague. Sarah has won various prizes during her studies, including the Phillip John Lord Composition Prize in Sheffield, and the Daryl Runswick Prize for Composition at Trinity, and has recently had performances of her work in Italy, Venice and Luxembourg.

Based on three notes, Threedom for solo treble recorder uses this limited pitch material to generate many different sequences that gradually increase in dynamic and register, and different timbres. With not much time for breath, it’s a real workout for the recorder player, but lots of fun!

RÿN, artist, born in the Netherlands, works and lives in the U.K. RÿN is currently studying at the Winchester School of Art - MA Fine Art by Project, funded by the Arts & Humanities Research Council. He is questioning identity and place through the interaction of different technologies. His work has a strong emphasis on dialogue between tactile and digital technologies within installation and sound.

“Ellipse 5.3” is based on sonification of data from an ellipse with three foci. First the ellipse is drawn digitally, then I used a manual drawing procedure which determined the patterns of sound. “Ellipse 5.3” is played and recorded digitally by the composer. This composition is a work in progress that came out of 'The Oceanography Project' in collaboration with Robin Hankin (Uncertainty Analyst, National Oceanography Centre Southampton) who created the software to draw an ellipse with three foci.

Alexis Perepelycia: BA in Music, at UNR, Argentina. MA in Sonic Arts at SARC, Queen’s University Belfast, U.K. Actually working on Interactive Systems in Musical Performance at the University Paris 8, under supervision of Prof. Horacio Vaggione. Studied with Carmelo Saitta, Diana Rud, Dante Grela, Gabriel Data, Francisco Colasanto, Dr. Pedro Rebelo, Dr. Ricardo Climent, Dr. José Manuel López López and Dr. Anne Sedes. Attended to seminars by José Manuel Berenguer, Eduardo Polonio, Mario Mary, Christophe Havel, John Bowers, Nic Collins, Richard Toop, Zbigniew Karkowski, Benoît Courribet, Gonzalo Biffarella, Sile O’Modhrian, Luc Ferrari, Jon Appleton, Leigh Landy, Terry Riley and Karlheinz Stockhausen, among others. His electronic pieces appeared on Dreamland Recordings (Australia), Earphone (USA) and ‘Deep Wireless’, NAISA (Toronto, Canada). His music has been premiered and performed on major festivals in Argentina, France, Italy, USA, Germany, Austria, Northern Ireland, England, Canada and Spain.

"Taxonomía de un Error": was conceived while working on a larger tape piece and was made with sounds from a collection of processed sounds of a church bell, originally conceived for that piece. All the processes were made using specifically designed Max/MSP patches, implementing different kinds of noisy modifications to the sound source (i.e. saturation, clipping, feedback, granulation, bit reduction, etc) usually perceived as errors or mistakes within the music.

“Sometimes active, and often inactive, in experimental music since 1963. Originally a jazz musician I turned to experimental music on hearing works by Varèse, Schaeffer and Cage. Super-active between 1967 and 1972 I had electronic pieces realized in Liverpool and Birmingham, England and on radio. I withdrew from music until the late '80s since when my output has been largely unacceptable because I found the new technology intimidating and the mainly 12TET basis of MIDI restrictive. Since 2002 I have conquered the intimidation and through the use of better software techniques have been able to mould tonality in directions more interesting to me.” A stereo recording of a man and wife saying ‘sixty seconds’ was stretched in time to occupy 60 seconds. A little reverb was added, the whole, amplitude normalized then the left track reversed. A Yin and Yang in sound reflecting the unison of marriage and the differences between the sexes.

Mark is an amateur composer and enjoys writing for varied ensembles. Mark has worked mainly with the Forum Chamber Orchestra and the London-based Brake Drum Assembly. Mark also assumes the role of 'bedroom producer'; he enjoys making music using a computer and uses the internet to distribute his music.

"I love melody, I suppose I have a 'neo-classical' writing style. My aim is to create new and engaging music using the tradition musical 'palette'. I'd like to learn more about world music too; there are so many talented artists around, and so little time to hear them all! “Dead Air” is a composition using a mix of sampled real instruments, sampling synths and conventional synths. I have attempted to mimic real instruments with the synths (listen out for the deep bass 'strum' notes) while other synth lines are built from highly processed vocal samples. A chop stick sample is used as percussion. The piece aims to be chaotic and enigmatic where conventional and unconventional voices are mixed to blur the line between natural and synthetic, old and new.

Simon Marchant is a music technology lecturer and workshop leader based in Kent. His first foray into the musical badlands was with a group called Greenfield Leisure (named after a chain of camping shops) where randomness and spontaneity always seemed to lurk around the next bend. Then came the Normil Hawaiians who were often equally undisciplined but tended to mess around in rather darker corners. Simon is currently working on a new band project where noise, melody and chance all vie for the opportunity to put their points of view across.

The Lonesome Birdman is brooding piece exploring the darker side of the budgie and its controversial relationship with human beings. The work comprises sequenced material including a MIDI generated theme, samples from a 1960’s reel to reel tape, various squawks and other original recordings, suitably edited and processed.

Mark Studied at Goldsmiths College, London and now lives and works in London as a Jazz Guitarist/bassist, teacher and composer. As an electronic music artist Mark releases music under the name Neat Little Boxes and has a number of releases on independent labels.

"Bend my ear" is a blast of sound that attempts to soothe and assault the ear at the same time.

Nick Ryall is a composer and teacher living and working in Cambridge, England. He is currently engaged in music composition postgraduate studies at the University of Birmingham. Nick's primary interest is in computer music, particularly building compositions from 'found sounds'. He also has an interest in utilizing the genres at the more extreme end of jazz and rock.

“sk8erpunk” is built entirely from samples of skateboard sounds. The sequencing was done on a Mac using CSound and the editing and mixing on Cool Edit Pro. There are two 'drum' tracks, four looped tracks using a variety of material and a 'melodic' track, produced by filtering and sequencing a single short sample. The Golden Section was used to generate some of the chronology, pitch, dynamics and positioning of effects on various tracks. The final mix is 'hard limited' to give the characteristic edge of a 'dance' track. The piece exists in both audio and video versions.

Mark Vernon is a Glasgow based sound artist, musician and radio producer with recordings released on Gagarin records, Staubgold, Textile and Pickled Egg. He was a founding member of Glasgow’s pirate art radio collective, ‘Radio Tuesday’, who set up a community radio station and broadcast innovative mixes of art and music in Glasgow and Helsinki. He has produced numerous programmes and features for radio stations including ‘WFMU’, ‘Resonance fm’, New Media Scotland, ‘Radio 101’ and the BBC including a programme for BBC Radio 4 -‘The Derby Tape Club’.

Composed from field recordings taken at Recyclart; a multi-functional arts space and venue in Brussels. All sounds used in the composition were recorded on site over the period of a week and edited and processed later. An imaginative young man with ambitions to be a news reporter tells some pretty tall tales. After an intro of processed music from the Recyclart club Jawad reports live from the scene of the crime. Over a backdrop of sirens and circling helicopters he gives us the latest update on the kidnapping of Jean-Pierre, or perhaps a ransom demand?

Born in Milan in 1970 he plays guitar and sings, graduated at the university of Bologna in 1994 in "study for the performing arts" he lived for a while in California before he settled down in the UK in 1998 he recorded 3 albums, He usually performs as a solo act merely accompained by his acoustic guitar though he might be joined occasionally by other musicians or experimenting with electronic loops, at the moment is writing the soundtrack for a documentary.

“Time flies” was written specifically for the 60x60 project and the idea was to describe how stressful can be the life in the city for a Londoner...

Nichola Scrutton is currently pursuing her PhD studies in electroacoustic composition at Glasgow University, with the support of the AHRC. Her creative projects focus on the sonorous and expressive potential of the voice, the timbral properties of acoustic instruments, and mixed-media installations in unconventional performance sites.

MMM! (2005) is a short contemplation on the relationship between processed voice and natural voice using extended techniques, in this instance, overtoning.

Miroslav Spasov composer, taught composition, electroacoustic composition, and musicianship at University of Calgary during 2002-2003. He joined the Music Department at Keele in 2005 where he teaches Electroacoustic Music, Electroacoustic Composition, and Computer Music Techniques. Since 1990, his works have been performed in festivals and solo concerts both in Europe and North America. Among other awards, his composition Metaanthropos/Evolutio I for flute and electronics, won the first prize in the Second International Computer Music Competition Pierre Schaeffer, 1999, and was subsequently performed in Italy, France, and Netherlands.

“CAVE-OUT”’s abstract structure was meant to invoke cognitive phenomena at the level of metaphorical associations – the composer believes that there is a structural homology, a parallelism of structures between musical processes on one hand and the processes of subjectivity (states of awareness), on the other.

Adam Stansbie is a composer and sonic artists from Leeds, England. He studied Music Production at the Leeds College of Music and is now lecturing at Leeds Metropolitan University. In addition to teaching, he is currently working towards a PhD in Electroacoustic Composition at City University, under the supervision of Denis Smalley. His output is largely acousmatic although he also composes instrumental music and has scored for several short films. His works have been performed and broadcast both nationally and internationally at festivals and events including the 11th International Festival of Electro-Acoustic Music, Cuba, the 10th Santa Fe International Festival of Electroacoustic Music, USA, Festival Internacional de Arte Electronico 404, Argentina and Art Trail Soundworks Live, Ireland. He recently received a residency price at the Bourges International Competition 2006

The Source material for ‘Things be Cut Shorter’ is derived from violin and cello recordings. Transformations of these two instruments have evolved into sustained morphologies and textures which remain closely related to their source yet unidentifiable. By extending and filtering gestural material, I have created distinct pulses which progress independently.

David Stowell gained his music degree from Reading University in 1980, then went on to the Royal College of Music in London and spent 3 years in the Opera Department. After a number of years in the music profession as a pianist and opera singer, he is now Design Manager for Cerrus International Ltd.

“Boxed In” consists of 2 voices – a re-sampled vibraphone that tolls the same chord repeatedly , and a xylophone that, boxed-in, repeats a five note sequence in different combinations of notes and rhythm.

My name is Babsi Vyse, a 23 year old female from England. In 2004 I graduated from Keele University with a first class degree in which I studied music and music technology. Although classically trained on the violin, I now focus my time on composing electronic music with an aim to blending the familiar with the abstract.

This piece, entitled “Accidental Death of a Disembodied Voice”, is a short work which blends anecdotal and abstract themes in order to create a simple yet haunting work. It is completely electronic in nature and uses applications such as Reaktor and Adobe Audition in order to create a 1 minute soundscape.

David Ben Shannon is an aspiring young composer for film and television. Born in Birkenhead, Wirral, he is currently in his second year at the Liverpool Institute for Performing Arts, studying music. In addition to his studies, David has worked with local amateur dramatics groups, providing musical direction for a number of local productions. The inclusion of 60,000,000,000 in the 60 x 60 UK Mix will mark the first public performance of any of his compositions.

“60,000,000,000” is intended to portray the passage of time, and the changes it can induce. The piece is based around two samples: a ticking clock, which plays almost continually, and a second clock sound which is heard more sporadically. The composition’s central motif is a simple, four-bar phrase played by an electronically manipulated string section. The motif is heard for the first time at bar nine and returns every eight bars, gaining power each time, until the piece concludes at bar thirty-six.

Simon Zagorski-Thomas is a composer mixing techniques drawn from various styles of popular music with more experimental forms. He is a senior lecturer in music and music technology at the London College of Music and a researcher in record production, groove and performance gesture. He has recently organised the first two international conferences on the Art of Record Production and has started the Journal on the Art of Record Production. Before becoming an academic, Simon was a record producer, sound engineer and composer for TV and film. He is currently taking a part time PhD in Studio Based Composition at Goldsmiths college, London.

'JB' aims to recreate certain aspects of James Brown’s late 1960s work using as few conventionally pitched sounds as possible. Each component of the piece is constructed from two or more performances where the morphology of one has been superimposed onto the other with a vocoder. Alongside this are more general themes from my compositional methodology that involve harnessing concepts drawn from popular music forms that are fundamentally different to the techniques used (and tacitly lauded) in the western art music tradition. In this piece, the 'composer' manipulates semi-improvised performances to achieve a desired creative result - a step towards the role of record producer, eliciting the right forms of creativity from others, rather than the direct control of the creative output demanded by the cultural norms of western art music.

Pete M Wyer lives in Brighton, UK. His work is diverse and often collaborative. Recent works include ‘Senbazuru’ for the Juilliard Orchestra and the multimedia opera ‘Cremenville’ for Opera North. He is currently developing a new opera at the National Theatre Studio and writing music for a new 10 part television series for the BBC.

‘Love will see us in hell’ I love the idea of storytelling within the frame of a 1 minute song. With this particular song I have the idea of a disillusioned priest confessing his doubts to a stranger: “..the book and the judge and the holy bell, shackle our hearts to a blind-man’s cart…”. I wrote several 1 minute songs, my favourite being “The Song of Svalbard the Flatulent”, I haven’t found time to complete them, ah well, maybe next year….

Born 1969 in London, I am Irish/African by roots. I am back now in the wet and the wind of Ireland after seven years teaching art and painting in the Kalahari desert, Botswana. Educated in Zimbabwe, South Africa and lreland. Degree Fine Art, (University of South Africa 1997) MSc Computing in Education, Limerick institute of Technololgy, MA Music technology ,Uni of limerick Ireland.

My music is about what moves me to song. It is a celebration of what encompasses and holds. It is a battle cry who says she is willing to fight.
Will you remember, in the forum what we will not forget? With ears Take a hollow echo into its own space, Brought into the circumference of its substance-With almost nothing at all, hardly a significance I sent sixty seconds who say all will be well. Draw down in the surface of the wet And swim under it A droplet who took his form from the ocean who wont let you drown.

Drawing from his continual experiences of working with scientists, Straiph explores the tension between art and science. Straiph has the speakers walk the line between what is comprehensible and what is not, and uses repetition and recurring themes to hold the work together. He manipulates the volume of the voices, and superimposes some voices on top of others, both of which influence the degree to which we can understand what the speaker is saying. But the logic of the spoken content is not really the subject here – instead, listening to the collages creates an overall aesthetic effect far beyond the content of what is said. In various works, Straiph has put together a collection of overlapping and non-overlapping scientists’ voices talking about various subjects. Some scientists speak English, others French or Scottish Gaelic, or English with a particular accent. He manipulates the voices of the scientists, turning the observers into subjects themselves. Unlike them, he is free to create his own reality rather than trying to study a pre-existing one. Straiph simultaneously makes the ‘objective’ observers a subject for his own observation, but they are also active participants in his art.

Born in April 1986, I grew up in Horsham, West Sussex. I struggled with music during my education, I actually failed my A2 written exam! I then completed a one year diploma course at the Liverpool institute for Performing arts, where I gained a real passion for sound engineering, it was also during that year when I began to really question what music was. I am now studying for a degree in music at Dartington College of Arts, where I have been able to explore music in a very free environment. “Nancy's Southern Voice” is built on text written by Dana Koplowitz. The intention was for the track to be made of words, and for the individual words to audible, but for the meaning of the words to be incomprehensible. The track came together very naturally, and the atmosphere of the track matched the that of the text. Every voice we hear is Dana's. She was shy to use her voice, but I found her voice so fascinating that I knew it had to be her voice that was used. After some gentle persuasion, the track was recorded in March 2006.

My Lost Soul Paul Tucker Paul’s acclaimed compositions vary tremendously in style, including pieces for solo piano, chamber ensembles, music technology, full orchestral works (most of which are set to moving picture), theatre music, songs and a cappella choral works Since graduating he has won many piano competitions and also more recently the ABAC Premio Franz Liszt International Competition for Composers, held in Grottammare, Italy.

“My Lost Soul” was an experiment consisting of nothing but my voice and breathing. The idea is that the listener IS the soul encountering other souls dark and light on it's way to peace. very moving very atmostpheric. would be more effective if heard with the lights off so that the listener is not distracted.

David Hamill is a largely self-taught musician and composer. Following a career in electronics and computing, he is devoting himself to music composition and artificial intelligence (as separate projects). His music tries to cut across genres, mixing elements of blues, jazz and rock with classical traditions. As well as using conventional instruments, it encompasses acoustic samples and electronic synthesis. David would like to see a new style of classical music for the 21st century, one that is closer to popular music, as it was in the past.

A robotic choir sings the word "philosophy". The voices originate from a software text-to-speech synthesiser, set to produce a monotone at various pitches.

Paul Burnell was born in 1960, Ystrad, South Wales and now lives and writes in London. His music often utilises relentless repetition and pulse within a structure that can be easily perceived as a process. Sometimes humour and spoken word elements are featured. Performances include 'Open Wide' for Chris Brannick and EnsembleBash 2006, 'Voices Losing Reality' for Frances M Lynch at the 2005 London All Ears Festival and 'I, Cog' for Jane Chapman at the SPNM Sound Source 2006.